This webzine is online since August 2010 and is completely dedicated to Electronic Music (EM) identified as the Berlin School style and its derived. You will find interviews but mostly reviews of ambient, sequenced and symphonic EM with a glimpse on other related genres. You have questions or want your music to be reviewed? Please read the 123 FAQ section attentively. Bear in mind the main purpose of this Blog. So welcome in and I hope it will guide you into the wonderful world of EM.

vendredi 30 juin 2017

“This is the best way to be introduced to some of the great France School's cosmic rock of the 70's with a splendid touch of contemporary”

1 Sequences Are Beautiful 11:142 Sleep Awake Part II 6:473 Among Waves Part III 8:004 Shadows Part II 11:295 Sleep Awake Part IV 9:53MoonSatellite Music (DDL 47:26) ****(Vintage French School's Cosmic Rock)An album in concert, as a Best Of…, is often the best way to start exploring the world of an artist. And I would insist on saying that it's even more true for EM because the Live aspect, this friendship and communication between musicians does that some of them give more by stretching a solo or by adding riffs here and there, is returned with such a similarity that we wonder: is it really Live or prerecorded? Don't get this wrong! A lone artist in concert who produces music like a band in studio can't do it on stage unless he has prerecorded elements. And even with that secured background, some artists dare! Like on this “Live O5/11/2016” from MoonSatellite! Recorded during his performance at the Théâtre de la Foucotte in Nancy, on May 11th 2016, “Live O5/11/2016” doesn't only contain some great music from the best era to date of Lone Wolf, be his delicious albums Whispers of the Moon and Sleep Awake released in 2015, but the brilliant artist of Lyon injects just enough nuances to give more depths to titles which have deeply charmed us some 2 years before, besides adding a new title which aims to be a good introduction to the following works of MoonSatellite. A delight for his fans and a feast, for the other fans to be, of a wonderful EM soaked with these wonderful perfumes of the France School cosmic rock of the 70's."Sequences Are Beautiful" is the title which underwent the most beautiful transformation here with percussions which give to it a more rock tonus. Also taken from the Whispers of the Moon album, "Shadows Part II" is adorned by layers of voices in its cosmic rock portion. "Sleep Awake Part II" and "Sleep Awake Part IV", although its finale is shorter, remain rather faithful to the versions from the album of the same name, except some synth effects which give a different aspect to the harmonious portion of "Sleep Awake Part II". "Among Waves Part III" seems to be the little gift from Lone Wolf to his fans. The opening offers oscillating loops of sequences with fine nuances in the impulses which seduces our state of hypnosis. Another line of sequences is added and revolve between both ascending movements while the percussions solidify an approach of slow cosmic rock which is wrapped by very good and melancholic solos of which the romantic and dark approaches will pursue their adventures in Sessions or in Dark Summer.Five titles don't make a Best Of…, nor measure the size of an artist. But “Live O5/11/2016” is an excellent start if you want to know the music of MoonSatellite. And afterward, you will discover an artist who will exceed your expectations.Sylvain Lupari (June 30th, 2017)synth&sequences.comYou will find this album on the MoonSatellite web shop here

jeudi 29 juin 2017

“Very gloomy, almost poetic, Dark Summer marks a new direction in MoonSatellite’s musical evolution with an opus which nevertheless stays admirably anchored in the French School of the 70's”

1 Variation #1 8:552 Variation #2 7:093 Variation #3 5:584 Variation #4 6:015 Variation #5 8:156 Variation #6 8:117 Variation #7 12:248 Variation #8 6:44MoonSatellite Music | MS006(CD 63:36) ****(Vintage French School's Cosmic Rock)For MoonSatellite, “Dark Summer” marks a turning point in his career. First of all, Lone Wolf bought to himself new toys and has reconfigured his studio in order to obtain the best sound possible from his instruments with the participation and the patience of Gilles Leroy. The fans and the friends of Marc who were able to follow the evolution of these works via Facebook, as well as the elaboration of some titles which were going to appear on his new album. All of this results in a strangely dark album where we guess a Lone Wolf who has a rather dark vision of the future or who had a nasty summer with mixed emotions and admirably transposed them in music on “Dark Summer”. Don't look for furious rhythms here. All of them are boned to make plenty of room for these delicious cosmic rhythms and these melancholic melodies which decorated the landscapes of the French EM in the 70's. But “Dark Summer” is not deprived of interests for all that! Oh that not … There is a level of emotion here which transcends the best opuses of MoonSatellite with 8 similar structures. Each of those shows subtle nuances and amplify from titles to titles this continual presence of nostalgic emotions which decorate the cosmic landscapes of this other very beautiful album from MoonSatellite. And as usual there are these magic moments, unique to the music of Lone Wolf, which make raise our hairs of the arms, if not of our backspine. "Variation #1" begins this new MoonSatellite odyssey with an approach shaded of romanticism. A somber romanticism sculpted by a soft structure with lines of more or less dreamy sequences which skip delicately in a cosmic soundscape. The decoration is rich with its full of interstellar elements where layers, illuminated by a suspicion of melancholic voices, wrap "Variation #1" with a soft and comforting aroma of ether. "Variation #2" sniffs at the ashes of "Variation #1" to get us out of our momentary musing with a stream of intensity forged by bass pulsations which go hop up and down and a movement of a more fluid sequencer which makes its keys flicker vividly. This phase of rhythm stays in the ambient domain, be a cosmic rock, with a rich decoration always well embellished of sonic images whereas the voices, and our ears, are enthralled by the multiple synth solos which respect this aura and the imprint of nostalgia which roams all over the 8 variations of “Dark Summer”. After a "Variation #3" which regroups the main elements of the first 2 titles of this new opus from Lone Wolf, "Variation #4" increases the degree of intensity with a very good line of bass which solidifies a structure slightly more lively but also fed by increasing elements of melancholy. The movement of the sequencer makes skip and waltz its keys in a soundscape blurred of this layer of darkness which wraps the essence of “Dark Summer”. We dive literally here in the heart of the French cosmic rock of the 70's with this structure which floats according to its numerous solos loaded of melancholic melodies."Variation #5" is this kind of title that brands our ears. The movement always remains so delicate as these lyrical odes which wrap the gloomy innocence of “Dark Summer”. But the sequences unfold here a superb march of nostalgia here with keys which alternate with a swiftness repressed by a veil of dusts crumbling from dying stars. The bass line spreads its veil of darkness, amplifying even more the presence of intensity which wraps this superb title. And if we find this moment attractive, it's nothing compared with the chants of the synth which throws a shroud of tears between our ears. Wonderful! "Variation #6" follows a little the curves of "Variation #5", but with more fluidity in the movement and in the harmonies of the synth. The 2nd part of the title waltzes with so much grace as a ballerina on a carpet of eroded shards. After an introduction furnished by a choir of austere psalms, "Variation #7" presents the most livened up part of “Dark Summer” with impulses of a good line of bass. The crystal tone sequences ring a sibylline tune which is chased by these lines of chorus and by another nice synth solo in the vintage pattern of the 70’s French School. "Variation #8" ends “Dark Summer” with a livelier movement, we always stay in the field of ambient rhythms here, which breathes like a moment of freedom found through an intensely melancholic album which seduces just as much as the previous works of MoonSatellite. Even if clearly more ambiospherical. Nobody can be disappointed here.Sylvain Lupari (June 29th, 2017)synth&sequences.comYou will find this album on the MoonSatellite web shophere

mercredi 28 juin 2017

“Very solid from A to Z, Move will please for sure the fans of the Peak and the fans of a very Tangerine Dream Berlin School style. From Sorcerer to Melrose!”

1 Amalthea 7:502 Marrakesh 7:513 Pangaea 5:584 Obsession 10:495 Delusion 10:346 Move 12:027 Visions 7:31KlangDesign-Record|
KDR 20171(CD 63:01) ****(Soft blend of Berlin School & EDM)I'm telling you from the outset, “Move” is quite a change of direction compared to the album Distance which was released in 2015. Less rock with a MaxSchiefele's guitar less omnipresent, this second album of the German trio Pyramaxx is more carried towards an EM more Berliner with structures where the hypnotic and progressive styles of the Berlin School cross an approach always a little bit rock of which the evolution ends sometimes in a kind of EDM. A beautiful album with nice ideas which has everything to seduce the most demanding, because here the signature of Pyramaxx glitters with a little something which feeds the curiosity of our ears.We are going to explore the new Pyramaxx with a title in a very Berlin School style. The first seconds of "Amalthea" present a nebulous introduction with a mini concert of twisted metal from where emerges a splendid line of sequenced rhythm a laTangerine Dream. This rhythm glitters with wide oscillations, sculpturing these perpetual upward movements which rivet us to our armchair. Effects of vaporous voices and other spectral electronic effects decorate this delicious movement which increases a little bit the velocity as the seconds pass. Sequences are very in the Chris Franke model with short adjacent lines which run away from and propose another more nervous alternative. Actives, the synths inject a very creative soundscape with these effects but also with layers in the shape of riffs and some hypnotic harmonic loops which charm and which also lead "Amalthea" towards a more rock finale. Discreet until then, Max Schiefele feeds the greediness of the percussions with a series of very rock riffs and solos which have made the charms of Distance and of the first albums of Axess/Maxxess. "Amalthea" sets the tone to a much diversified album. "Marrakesh" is a true value with a good electronic rock loaded of the Middle East perfumes. The percussive effects and the organic bass tones are superb on this title which gave me this taste to plunge again into the universe of Paul Haslinger and of his album World Without Rules. "Marrakesh" nests in my iPod, section Best titles of 2017, from the first day that my ears met “Move”. "Pangaea" is not outdone with a good rock as catchy as its very good melody. It's very electronic with a mixture of TD of the Melrose years and a Jean-Michel Jarre in mode seduction for a more adolescent audience. "Obsession" brings us to another level with a very film intro where bellowing and other effects of voices as well as intense and nerve-racking effects of percussions dominate the atmospheres. A more ethereal phase extricates itself from this magma full of suspense before a light movement of harmonious loops espouse those sequences as frivolous as the evasive melody. What strikes here is this new sound signature of Pyramaxx which is more perceptible in this long evolutionary title. The game and the effects of percussions are no stranger to this signature, as well as this approach of Dance Music marinated in Techno and combined to a Rock very stylized by a decoration raised by a truck of effects. So, it's at each new listening that we rediscover titles as "Obsession" and "Delusion", a little softer with a more present Maxxess here, as well as the stunning "Move" and its polymorphic structure which sways between quiet vibes and a rock in an impeccable soundscape. By far the most sophisticated of the titles of Pyramaxx! Between the ballad and the cosmic dioramas, "Visions" ends “Move” with a nice introduction of atmospheres. Synth waves rise in crescendo, breathing another part of intensity which lies dormant all over the 63 minutes of this Pyramaxx's 2nd album. Adorned of a cosmic landscape, this opening goes overflowing over a delicate movement of sequences which sparkles under breezes become warmer and some harmonies, in the form of solos, coming from the guitar of Maxxess. Evolving by phases in crescendo, "Visions" accentuates a little the pace, under some delicious knocks of percussions which resound like metallic whips, one of the seductive elements in this album, keeping this hypnotic movement in the spheres of a cosmic ballad. This is very good.“Move” is in the continuity of the works of Pyramid Peak, guitar in more and a production with a sound aestheticism which transcends a little the style of the Peak. There are very strong moments on this album which should please undoubtedly the fans of the Peak and the fans of a Berlin School style perfumed from the fragrances of Tangerine Dream. From Sorcerer to Melrose!Sylvain Lupari (June 28th, 2017)synth&sequences.comYou will find a way to buy this album by visiting the webshop of KlangDesign-Recordhere

lundi 26 juin 2017

“This last opus of Pyramid Peak is an extraordinary voyage among the many years of the Peak with these always so exquisite patterns of evolutionary rhythms”

1 The Journey 20:202 Roots 18:513 Milestones 21:584 Offshore 11:48Manikin | MRCD 7104(CD/DDL 73:03) ****½(Berlin and New Berlin School)After a short sinister wave, seraphic songs flood our ears with slow orchestral waltzes where are trapped some electronic effects embalmed of a cosmic touch. Faithfull to the mark of Pyramid Peak, the introductions of the long evolutionary titles are sculptured with interchangeable elements which have this gift to draw our attention. Here, orchestrations get lost in the charms of synthesized songs while the effects borrow other tones. The universe of the Peak remains always constantly evolving, even when it's very slow mutations. Orchestrations and songs of synths are exchanging the introductory harmonies while discreetly the sound of ringings forms a first line of rhythm. An ambient rhythm which convulses subtly with jolts knotted around a line of continual riffs. Slowly, "The Journey" restores this line of charm between the unconditional fan of Pyramid Peak, whom I am, with a crowd of sound elements which lead to predict any rhythmic load at any time. Percussive effects, and their echoes, feed this perception while the synths draw some kind of celestial arabesques which sneak between these ringings that stimulated the opening of "The Journey". The movement gets stir a little before the point of the 7 minutes. Sequences, percussions and pulsations form a spasmodic movement which break over towards these delicious cosmic rock unique to the Peak's charms. Very Tangerine Dream layers decorate this rhythmic progression whereas that are always rolling these electronic embroideries which sing like some nightingales of another planet. The synth solos are splendid with these fragrances of ether which invalidate their furies without eliminating at all their harmonious charms. The minimalist structures are at the heart of the Pyramid Peak concept and at no time they guide us towards a sensation of tiredness of the listening. And even after 4 years of absence, the magic is always present. "The Journey" offers these little sonic treats, both in the rhythms as in the effects, which inflate admirably its crescendo. Like this other line of sequences, always very TD, which strolls behind these synth solos and which will redirect the cosmic rhythm of "The Journey" towards a more ambiospherical phase where the rhythmic elements remain on the alert, because "The Journey" will resume another structure of rhythm, more moderate, with synth solos always so charming.Warning! The credibility of the author of this review could be soiled because he is a die-hard fan of Pyramid Peak's music. But honestly, I don't believe that it will change anything at all; “Roots” survives very well to the colossal Anatomy published at the very end of 2013. Structured around 4 long titles in minimalist mode and always very evolutionary, “Roots” proposes a journey between the various stages of Pyramid Peak since Ocean Drive until this day. We find thus many cosmic elements there, which fed the atmospheres of the first albums of the Peak, as well as these movements of sequencer which structure these rhythmic crossroads in constant movement and impulses of crescendo which constantly gave gooseflesh to us. And as nothing is left at random in the wonderful universe of the Peak, the duet Andreas Morsch and Axel Stupplich injects some silky orchestrations which amplify even more the intensity of the rhythmic parameters of which the diverse transformations work inside amazing synths soloes which, besides the harmonious effects, throw layers of mists and of voices as in the nice time. The title-track is more ambiospherical and its intro resounds like Tangerine Dream of the 70’s with foggy layers and with small harmonious phases which generate a crowd of memories. A pasty voice and samplings of voices describe the story in music of the Peak, introducing a rhythmic portion livened up by a crossing between sequences and percussions before the synths loosen loops of ambient vibes which will guide us in this approach of a duck cackling an organic structure. The movement limps with a subtle fluidity under an avalanche of other great solos. It's the kind of title that makes us travel through our dreams. "Milestones" is the key point of “Roots” with some nice long minutes which pull us in the territories of Klaus Schulze and his collaboration with Pete Namlook in The Dark Side of the Moog IX. Wonderful! From slow to undecided, the rhythm progresses with heavy percussions which hammer a peaceful ascent of the sequencer. The solos inject ink of fire which draw lazy volutes of which the twists wind up and crumple on a cosmic rock which will explode a little after the point of 11 minutes. The sequencer is lively and oscillates swiftly under superb synth solos always very musical. We listen on a loop! Shorter title of this last adventure of Pyramid Peak, "Offshore" starts slowly in order to expose us to a structure of rhythm which evolves as if Chris Franke would be behind the sequencer. The sequences are agile and get jostle with fluid leaps, exposing other sequences which join a phase which oscillates as reeds under hot winds and of which the breezes are filled of splendid seraphic songs. Songs which are present all over “Roots” which amazes even more with its inescapable structures of rhythms in constants evolution and which make of the music of Pyramid Peak the rendezvous of the followers of the Berlin School, as retro as new genre.Sylvain Lupari (June 26th, 2017)synth&sequences.comYou will find info on how to get this album on the Manikin Bandcamp pagehere

vendredi 23 juin 2017

“A musical project of Glenn Main, Get it Right aims a new audience for AD Music with an album totally in the style of retro synth-pop”

1 Homemade Wings 3:422 Night of the Living Synth 4:293 Get it Right 3:514 Dream a Dream 3:235 No Romance 4:096 Run Away 4:297 Too Late to Say Goodbye 3:458 Superwish 3:339 Wonderful Life 4:46AD Music ‎– Argh2017r (CD/DDL 36:05)

(Retro Synth-Pop)

I'm asking myself the same question quite often. Should I speak about it? Do I have to write about this 2nd album of the Norwegian band ARGH. Does it have its place in this vast library of EM that became Synth&Sequences? And then I said myself; why not? By respect for my readers and by respect to the AD Music label which aims at diversifying, in a wider range, the styles of its catalog, I told myself that to speak about it, if only just a little, can guide my readers towards a more sensible choice. And why this preamble? Because “Get it Right” from ARGH, standing for the initials of Andreas Ronbeck and Glenn Henrikson, is very far from this EM which livens up the debates here and which fires the curiosity of the aficionados of the Berlin School style and of all its derivatives. We are dealing here with an album of Synth-Pop, or Future Pop that depends of, with a singer and one or two keyboard players who are apparently inspired by the Depeche Mode model or by the Norwegian pop music band A-ha. And I imagine that the fact that Glenn Main Henriksen is behind this project helped this band so that it joins the ranks of the prestigious English label and thus to get more visibility.Who says Glenn Main, who says AD Music says quality! At this level, “Get it Right” won't have no difficulty to charm the fans of the kind. But is not Depeche Mode who wants! The music of ARGH, to say the least here, oscillates closer to the roots of romantic Synth-Pop and the bubblegum pink of the golden years of the kind and of MTV. The rhythms are little wild and the percussive effects are clearly less furious than in the structures of DM. I would go more to the kind Human League, especially when the voice of Iselin Main, Glenn Main's daughter, teams up with Andreas Ronbeck on vocals on titles as "No Romance" and the nice ballad "Run Away", of Howard Jones, Simple Minds or still Bryan Ferry in solo, in particular in "Wonderful Life", to describe better the 9 titles which lengthen hardly the 37 minutes of this album. There are good moments, like the very catchy "Night of the Living Synth", and many danceable titles which are built around dance beats like on DavidBowie's Let's Dance if you want more reference tools. The approach remains very retro with rhythmic structures supported by beat-box percussions and very pastiches effects of the golden years of Synth-Pop. It's moreover one of weaknesses of this album. By offering a “Get it Right” more than seducing to the fans of the kind, the Norwegian duet (or trio?) forgets largely the innovative aspect. The sounds, the tones and the arrangements are in the heart of the 80's. It's agreeable, but more than 35 years later the kind has fairly evolved. Unless ARGH aims at the nostalgic. If it's the case, they aimed quite right! In brief; well-done Synth-Pop with tones of yesterday played with instruments of today. And it seems that the band is very good in concert with a highly inspired Glenn Main, who is quite a showman and who is surrounded by his daughter and son Nicko on keyboards.Sylvain Lupari (June 22nd, 2017)synth&sequences.comYou will find this album on the AD Music web shop here

mercredi 21 juin 2017

“Vanguard III is a logical end of the first two chapters which have so superbly charmed us”

Free all Angels 6:06Ritual (Electro Mix) 7:19Could You Cry 5:07Rise 6:58Schadenfreude 5:53Ahnenerbe 15:45Transit 6:03Elektra 5:57Ascendance 5:47Wished 6:24AD Music ‎| AD177(CD/DDL 71:22) ***¾(E-Rock, EDM & Orchestral Cinematographic EM)To be a fan of Andy Pickford can turn out destabilizing! I am not a fan from the very beginning, but I learnt to know the artist and to like his music since the adventure of Spank the Dark Monkey and Binar in the early 2000's. And after an absence of about 10 years, he made a strong comeback with the Vanguard trilogy begun in 2015 on the AD Music label. Since then, he widely compensated these years far from the scene of EM with not less than 10 albums in 2 years. And each of those album hides traps of seduction, otherwise of addiction. That takes some doing! Destabilizing because AP touches everything with the fervor and a rage to put his fans on a foot of alert by jumping from a style to another with as much ease as grace. In so doing, each album becomes an opened door towards a wonderful world of sounds, of rhythms and of ambience which are as well attractive as puzzling, like in this “Vanguard III”.The adventure begins with a horn of plenty which let drops its sound prisms from the heavens, so pouring a delicate ethereal approach where ring a beautiful variety of celestial bells. "Free all Angels" leans from now on a purely electronic rhythm which is transformed into a good rock. The bass is throbbing and its humming sometimes gets lost in full resounding layers of which the hoarse radiances try to forge fine stroboscopic circles. The percussions are in the tone and the synths decorate a sibylline beautification with pearled harmonies and layers of absent voices, which murmur in the background of this decoration, and arrangements of trumpets which give a festive air to this liberation of the angels. The tone is given for an album where every title abounds in soundscapes which feeds completely the voracity of our ears. In 2012, Andy Pickford realized a series of 6 E.P. among which EP#04: Ritual. It's from this E.P. that is taken the very Electronica "Ritual (Electro music Mix)". A mixture between Techno and Trance Goa, the music is lively and jerky like in these electronic parties where we turn around beneath wild stroboscopic effects. Besides all his talents, AP sings! Like here with the slow dance beat which is "Could You Cry". The music flows behind a wide curtain of mist, so giving this tint to the voice of AP. The tempo is hyper slow and the arrangements influence an approach of a love song where cry superb synth solos. Lise loves it and I have to admit that it passes well enough. We stay in the field of ballad with "Rise" and its circular movement which increases its intensity gradually in order to explode in another good electronic rock. That becomes rather intense and the voice of a Berber woman adds a touch of exoticism to a strong title which will turn pale on the other hand in front of the well of intensity that is the powerful "Ahnenerbe". After a very glamorous electronic rock in "Schadenfreude", another title with an evolution controlled by an emotionalism amplified by diverse arrangements and especially by the presence of a good synth / guitar with striking harmonious soloes, "Ahnenerbe" nails us in our armchair. Very filmic, the music streams like a thousand of lapping which sparkle and sing as these circles which extend by the grace of a finger over the peaceful surface of a lake. Timid, the intensity of the circles increases its emotional and dramatic value with heavy percussions and orchestral arrangements, in particular this angelic choir, which give the shivers that our soul needs to confirm our thirst of life. It's powerfully dramatic and we search everywhere so that our ears swallows all of this sound scenario which ends up like a storm on the ice floes of time. The voices of the NASA and the electronic chirpings reminds us that with Andy Pickford, we can expect everything!Even in this mosaic of styles, AP manages to weave thin links which unite the 10 titles and some 71 minutes of “Vanguard III”. The electronic chirpings go beyond the borders of "Ahnenerbe" and throw themselves into the static movement of "Transit" where riffs, orchestrations of the Dance Music years and effects get torn between a rock and a good EDM. The density and the sound fauna is abundant here as everywhere in “Vanguard III”. And this is true, no matter the styles. The weeping violin of "Elektra" reminds it to us with a beautiful ballad, sometimes light and sometimes intense, which supports very well the harmonious voice of an Elves woman. Still here, there is a cinematographic link to be weaved with rhythmic impulses which fly away like a knight leaving his lady-love just before the end credits of a movie. "Ancestry" is a title with dominant moods. Still here, the effects of goddesses voices caress melancholic chords where a delicate stroboscopic thread gets worn out. Catchy and filled by tenderness! "Wished" ends this last part of the Vanguard trilogy like the music of a pompous movie. The effects of orchestrations are as much poignant as very varied and the title progresses in strength with sequences which flash hard and around these felted percussions which are synonyms of Electronica's psybeats but which it not totally that. A very good title which will give you the same effect as "Ahnenerbe" and which closes a logical conclusion to the 2 first ones Vanguard where Andy Pickford has fun to fill our ears of delights. I heard that a new album, of the kind of Harmonics in the Silence and Shadow at the Gate is at our doors… Yummy Yummy…Sylvain Lupari (June 20th, 2017)synth&sequences.comYou will find this album on the AD Music web shop here

lundi 19 juin 2017

“Here, Vanderson left the comfort zones of ambient Berlin School and purposes a trip to the lands of Boom-Boom, Doo-Doo and Tsitt-Tsitt wild and voracious”

1 Children of Andromeda 11:082 Outer Space 8:053 Reality 7:194 Underwater World 13:465 Invisible Contact 8:036 Sense 6:347 Time Travellers 9:01MellowJet Records ‎| cdr-va1701(CD/DDL 64:11) ***½(EDM, IDM & Techno)A cosmic wave rises from the East. Chirping of birds welcome this cosmic layer filled of comfort and serenity. Quite smoothly, "Children of Andromeda" begins like these small moments of tenderness which overflowed from the horns of plenty in the time of New Age. A superb movement of serenity where even flows these small swash of sequences … But there you have it! Since Vandisphere, Vanderson has undertook a Dance, a Techno and even a Trance bend. And if we had forgotten it, it's with tact that Maciej Wierzchowski reminds it to us because "Children of Andromeda" goes from ambient melodic to a very Berliner movement of the sequencer which is chewed and, eventually disemboweled by flickering sequences sucking of ambiences and by percussions in Techno mode. The movement transits then from Techno to Ambient House with short ambiospherical phases where the sequences flit around like keys without direction in a rhythmic which is always reborn of its ashes. "Children of Andromeda" is the warning shot of an album which aims to be merciless for the fans of Berlin School who savored the first opuses of the Polish synthesist. Except that we have to throw an ear behind these furious rhythms, because beyond all Vanderson tempts an union between those kinds which feed the Electronica and a Berlin School which hangs on here due to the sequencer and the ambiences.Which is not completely the case of "Outer Space" and its very Ambient House introduction with a touch of the 80's (Frankie Goes to Hollywood) and a very Underworld approach. Slow but filled of a ambiospherical heaviness, this rhythm is encircled by a line of stroboscopic sequences and decorated with a really catchy melody which is thrown by a synth more creative than lobotomized. The 2nd part is more lively, more energetic with thin lines of epileptic sequences which show more quickness. "Reality" is my first crush in “Beyond Time Structure”! After an introduction in the kind of sci-fi, the sequences fly lightly with hesitation before forming a slow and heavy aerial rhythm, as I like them, decorated with small jolts and with these small hoops which collide and form a line of jerky sequences. The percussions get fit to the beat and the union between them and the sequencer creates a light movement of gallop that a synth decorates of nice electronic syllables, as those in "Outer Space". Delicious from start to end which livens up with more liveliness. "Underwater World" is in the very Dance style. The intro is always imagined with electronic tones which evaporate in a phase of atmospheres. The lines of sequences are held in suspension, like these spatial squadrons which wait and flutter before diving towards an intergalactic war. They wait for a line of bass which gallop slowly and percussions which hammer a static rhythm with elastic doom-doom. This introductory spiral dives towards a steadier structure and wrapped with an approach of electronic effects which flirt a little with the model psybient. The more "Underwater World" moves forward and the more we feel this attraction towards a Goa Trance a la Jarre, Électronica era, with chords which spin in a circular and jolting approach. A little less long and that would have been better! Like with "Invisible Contact" which is slower and which is decorated with good solos which flee from the movements of acrobatic spirals. "Sensible" is in the kind of thing that I like, either a good slow beat with nice harmonies whistled as a walker admiring the landscapes. Certainly, there are Techno and dance effects as well as with robotics percussions and stroboscopic strands....but that remains a music of electronic dance (EDM) and that passes better in this little less wild approach. "Time Travellers" is the least energetic title of “Beyond Time Structure”! It always stays in the kind EDM, but with a slowness which places it between an E-rock and an EDM in an electronic decoration always so cosmic … as electronic.“Beyond Time Structure” proposes a new opus of Vanderson which isn't anymore, to say the least at this moment and in this album, the Vanderson that I discovered with Visions in 2011. But one has to evolve! No? And on the MellowJet label, and with the complicity of Bernd Scholl, Vanderson's EDM approach is deliciously well structured, mixed and mastered with highlight by all the knowledge of the MellowJet Records' own boss who adores working on these links between the EDM and the electronic rock side of the Berlin School. It took me some listenings, but I finally succumbed to the charms of some titles. And “Beyond Time Structure” deserves definitely to be in this mass of great diversity of the German label MellowJet Records. Me! Well, I think I did evolve over the past years…Sylvain Lupari (June 18th, 2017)http://synthsequences.blogspot.ca/You will find this album on the MellowJet Records shop here

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Qui suis-je

Bonjour!
My name is Sylvain Lupari from Joliette in Quebec (Canada). I’m known as Phaedream all over the Internet since the beginning of 2000 where I started to write reviews. In 2005, I joined the French Webzine Guts of Darkness and on August 2010 I created a Blog, Synth & Sequences, which has reached the point of 1 000,000 visitors on February 2017 where I also wrote my 1354th review. In French and in English, I wrote more than reviews of EM albums.
This Blog is a huge success and reference about the music which sets my mind free over the years. Too many chronicles, so I have to split this Blog in several sections. Robert Schroeder is the first to welcome my thoughts on Webpress.
So, welcome to this part of my Blog Synth&Sequences which is devoted to the music, the tones and sounds of Aachen’s own Robert Schroeder.
Here you will find informations about his career and discography and latest news as well as deep reviews about his music, his albums.
My only wish is to guide you through his impressive career and may I suggest to visit regularly my Blog Synth & Sequences for more updates on EM.